Anne Wilson: The Magical Quest. The Use of Magic in Arthurian Romance
Manchester University Press 1988
This book, though seeming of the mystical camp popular in the 70s and 80s, is rather more academic though nonetheless exciting for all that. It asks the question ‘Why are there so many apparent contradictions in medieval Arthurian romances?’
The answer is that the authors use traditional plots. And the rationale of these plots, like the closely-related fairytales, is that of a different order to that of so-called realistic novels. What, then is this rationale?
1867. It’s almost halfway through Victoria’s reign, the American Civil War has not long finished and nouveau-riche industrialists are creating castellated Gothic residences to suggest spurious ancient heritages. From Cyfarthfa Castle (1840) in Merthyr Tydfil, Wales to King Arthur’s Castle Hotel (1899, now the Camelot Castle Hotel) near Tintagel, Cornwall these bastardised edifices stand as monuments to limited imaginations and dubious tastes.
Avalon Castle in Worcestershire is just such an edifice in this mystery romance laced with murder and intrigue by Staffordshire author Rosemary Craddock. Along with family secrets, suspicious deaths, concealed rooms and hidden drawers we have faint Arthurian echoes: damsels in distress and a lady in the lake, for example.
As suits this genre there are also stereotypes out of the pages of Jane Austen, the Brontës and Georgette Heyer, even fairytales such as ‘Bluebeard’, rubbing shoulders with railways, the telegraph and the arms industry.
Twenty-seventeen is the bicentenary of Jane Austen‘s death, with the climax of the celebrations arriving on the fateful day of July 18th. Austen lovers the world over will be adding their own appreciations — as I too will be doing, discoursing on Emma, the last of her books to be published in her own lifetime.
I’ve posted a number of reviews, discussions and oblique references to the author over the years. For those who may be interested in what this newbie admirer of Austen’s powers has to say I’ve appended a list with links and also included a brief description. Feel free to indulge yourselves — or pass by!
Phyllis Edgerly Ring The Munich Girl:
a novel of the legacies that outlast war
Whole Sky Books 2015
It is the mid 1990s. Anna is stuck in a loveless and childless marriage with Lowell. In the New Hampshire house left to her by her mother she feels like a mere adjunct to his academic life, his forthcoming study on the Second World War and his publishing business which issues The Fighting Chance, a military history magazine. An adjunct, that is, until he invites her to contribute an article about Eva Braun, Hitler’s mistress; it is to furnish the female angle for the forthcoming special issue of the magazine designed to coincide with the publication of Lowell’s book. And it is at this point that everything changes for her: she gets a chance to become a butterfly on the wing instead of a lowly caterpillar crawling beneath.
Eva Ibbotson The Morning Gift
Macmillan Children’s Books 2015 (1993)
I’ll have a starling shall be taught to speak …
— Shakespeare Henry IV Part 1
Here is a publishing curiosity. The Morning Gift was originally written in the 1990s for an adult readership but then, to the author’s surprise, reissued as a teen read in 2007 (presumably slightly revised then by the author, as a copyright notice suggests).
I can see how the temptation to repackage may have arisen: it’s a sort of Rags-to-Riches story, with the young heroine (she’s around twenty, I should add) playing a Cinderella role until she and her Prince Charming finally get together.
But within the Boy Meets Girl trope, where the course of true love rarely runs smooth, there is so much more to enjoy. For a start, there’s a generous dose of autobiographical detail that lends both honesty and authenticity to the narrative.
Anne Spillard The Cartomancer Pan Books 1989 (1987)
It’s odd how, re-reading this twenty-five years later, I find that I recall neither characters nor plot from that first reading other than that the narrator tells people’s fortunes from an ordinary deck of cards. That and the fact that there are a few obscure Arthurian references thrown in. This second rather more careful reading reveals there is a little more subtlety than at first appears from a cursory perusal, making it more satisfactory yet, curiously, curiouser.
Dodie Smith: I Capture the Castle Illustrated by Ruth Steed from sketches by the author
The Reprint Society 1950 (1948)
This is the most perfect novel. I can perfectly understand the esteem it’s held in by those who have fallen in love with its characters, its story and its language. Told as though by the 17-year-old Cassandra Mortmain, I Capture the Castle catches perfectly the introspection and sensitivity of a teenager on the cusp of adulthood; extraordinary that the author, then in her early fifties, was able to portray such an individual with exquisite insight, deliberately echoing the conscious naivety that Cassandra is accused of with an older woman’s own conscious assumption of naivety.
The background to the novel’s birth is easily sketched in: successful playwright Dodie and her husband Alec Beesley moved to the US during the war because Alec was a conscientious objector, and she wrote the novel partly out of homesickness, setting it in a ruin based on the real-life Wingfield Castle in Suffolk. Wingfield is here transformed into Godsend Castle, hired by the Mortmain family, and is where father James Mortmain struggles unsuccessfully to commence the “difficult” second novel that plagues many writers. The family gradually descend into genteel poverty until the arrival of new landlords from America, when everything changes utterly.
Jane Austen Mansfield Park Penguin Popular Classics 1994 (1814)
Let other pens dwell on guilt and misery. I quit such odious subjects as soon as I can, impatient to restore everybody, not greatly in fault themselves, to tolerable comfort, and to have done with all the rest.
I’ve noted before Austen’s predilection for inserting her authorial voice into her novels: in Sense and Sensibility she speaks in chapter XXXVI, and in Pride and Prejudice she appears at the beginning of the final chapter. And here she is at it again in Mansfield Park, at the start of chapter XLVIII (yes, the final chapter again) giving a succinct if ironic set of observations about the previous forty-seven chapters. She says it’s about the ‘odious’ subjects of guilt and misery; and those who have suffered from such miseries, though not totally innocent, will come to some sort of happy ending, while those who have peddled the misery and turned the knife in feelings of guilt will get their more or less just deserts. Have I committed the unpardonable sin of introducing spoilers or, this being a classic romance, is this what readers of the genre hope for and expect?
When, in the early 70s, I spent a year or so as a library assistant (not ‘assistant librarian’, as I was firmly told) life seems in retrospect to have been a lot simpler. Information technology was in its infancy, microfiche was cutting edge for library users, and fiction was arranged on library shelves according to a simple fourfold system: Fiction (by author, in alphabetical order), Detective, Western … and Romance. (Teenage reading, what we might now call Young Adult, was still shelved under Children, hived off in its own ghetto and marked Juvenile. How fashions change.)
‘Fiction’ — that is, the works shelved by author surname from A to Z — is such a broad canvas: I’ve seen it referred to as mainstream (that is, ‘popular’), literary (niche, that is, not so popular), commercial (makes piles of money, usually in inverse proportion to its literary worth) and contemporary (probably published in the last year or so, certainly excluding classics like Dickens, Hardy and Austen). In truth these are categories with very fluid boundaries, often overlapping. (To my mind there are in reality only two types of fiction, fiction you like and fiction you don’t, but you can’t plan a public library based on personal preferences.) Where, then, does the Romantic Novel — the last genre we looked at in the creative writing class — sit? Continue reading “Romancing the novel”→
Folktales and ballads often recount the fantasy of a fairy abduction or visit to the Otherworld where both reality and time are suspended until the human visitor returns to their own world. Mark Twain’s A Connecticut Yankee in King Arthur’s Court gave this trope a time-travel twist by using the story as a means of satirising contemporary mores, perceptions and attitudes. Jill Rowan has given this by now well-worn motif a further twist: her protagonist, Fallady Galbraith, visits a kind of fairyland (the late 18th century), leading her to re-appraise her personal philosophy, her perceptions of life lived then and her attitudes to class, gender issues, education and love. How she copes with the possibility that she mayn’t return to 2008 while yet enamoured of her ‘fairy lover’, a country parson, is the mainspring of the plot and the conflict she has to resolve. Continue reading “Ingenious genre-crossing”→
For award-winning, internationally-acclaimed author Rosemary Sutcliff (1920-92). By Anthony Lawton: godson, cousin & literary executor. Rosemary Sutcliff wrote historical fiction, children's literature and books, films, TV & radio, including The Eagle of the Ninth, Sword at Sunset, Song for a Dark Queen, The Mark of the Horse Lord, The Silver Branch, The Lantern Bearers, Dawn Wind, Blue Remembered Hills.